— Rembrandt van rijnQuote of Rembrandt's letter, Nov/Dec. 1662, to buyer Don Antonio Ruffo from Messina, Sicily (location: RD, 1662/12, 509); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, NEW YORK 1999, p. 591, & notes 32-36
Rembrant's reaction after complaints of Don Antonio Ruffo, dispatched through the Dutch consul in Messina, Jan van den Broeck, who was on his way to Amsterdam. Once there he was to inform Isaac Just (presumably the intermediary between Rembrandt and the Messina patrician), of the intense dissatisfaction at the work, which Don Ruffo had received. 'The Alexander', he complained, being unacceptably stitched together from four separate pieces, showed seams which were 'too horrible for words.'..g with so many defects.. (Don Ruffo already bought Rembrandt's painting Aristotle with a Bust of Homer c. 1655 and still existing: https://commons.wikimedia.org/wiki/File:Rembrandt_-_Aristotle_with_a_Bust_of_Homer_-_WGA19232.jpg,but 'The Alexander' of Rembrandt is lost).

— Rembrandt van rijnLetter to Constantijn Huygens (Amsterdam, after Feb. 1636) http://remdoc.huygens.knaw.nl/#/document/remdoc/e4429
Rembrandt emphasizes here the urge for a place with bright light, necessary to view his painting well. Not certain is which painting by Rembrandt is meant here.

— Rembrandt van rijnInscription on Rembrandt's drawing 'Christ and the Woman taken into Adultary' https://tomcat.tiler01.huygens.knaw.nl/adore-djatoka/viewer.html?rft_id=http://localhost:8080/jp2/13288755182981.jp2, on the back of a funeral ticket, after May 1659; (Benesch 1047)
Gary Schwartz states in his 'Core list of Rembrandt drawings' - section 2: with inscriptions in Rembrandt's handwriting other than a signature: 'The authenticity of the drawing was called into question by Giltaij 2003, whose opinion is not shared by others, including myself' at the bottom http://remdoc.huygens.knaw.nl/#/document/remdoc/e12838

— Rembrandt van rijnRembrandt's 'recipe for a stopping-out varnish' on the verso of a drawing 'Landcape with a River and Trees', undated, c. 1654-55; (Benesch 1351) http://remdoc.huygens.knaw.nl/#/document/remdoc/e12886
It is evident that Rembrandt refers (alas fragmentarily) to a so-called 'stopping-out varnish', used to terminate the bite of acid in select areas of a plate that had already been exposed to the etching agent. Thus other portions will remain exposed to the acid to deepen the bite. Also Samuel van Hoogstraten, the first student of Rembrandt in Amsterdam, mentions the use of such a varnish in his 'Inleyding tot de Hooge Schoolde der Schilderkunst', Middelburg 1671 / Rotterdam 1678

— Rembrandt van rijnStatement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003) by Alison MacQueen
This quote is not to find in the source, Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The

— Rembrandt van rijnStatement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003) by Alison MacQueen
One of the popular aphorisms about Rembrandt's paintings, drawn from his early biographies in early 19th century and repeatedly attributed to the artist by the French writers and artists [ https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 ]

— Rembrandt van rijnfrom a notary document, 1654 (location: RD, 1654/5, 310); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 569 - note 7
Rembrandt is rejecting the demand of the Portuguese Jewish merchant Diego d'Andrade, who rejected in 1654 the portray of his daughter which Rembrandt was painting, as "showing no resemblance at all to the head of the young daughter". D'Andrade demanded that Rembrandt immediately take up his brushes and finish the work to his satisfaction

— Rembrandt van rijnStatement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003), by Alison MacQueen
One of the popular aphorisms about Rembrandt's paintings, drawn from his early biographies in early 19th century and repeatedly attributed to the artist by the French writers and artist, Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The